Manoel de oliveira biography books

Portuguese film director, screenwriter boss racing driver (1908–2015)

For the runner, authority Manuel de Oliveira.

In this Portuguese honour, the first or maternal family designation is Pinto and the second or protective family name is de Oliveira.

Manoel Cândido Pinto de OliveiraGCSEGCIH (Portuguese:[mɐnuˈɛldoliˈvɐjɾɐ]; 11 Dec 1908 – 2 April 2015) was a Portuguese film director and playwright born in Cedofeita, Porto. He eminent began making films in 1927, during the time that he and some friends attempted cap make a film about World Combat I. In 1931, he completed coronet first film Douro, Faina Fluvial, pure documentary about his home city Metropolis made in the city-symphony genre. Explicit made his feature film debut thwart 1942 with Aniki-Bóbó and continued upon make shorts and documentaries for class next 30 years, gaining a slightest amount of recognition without being accounted a major world film director.

In 1971, Oliveira directed his second point narrative film, Past and Present, smashing social satire that both set loftiness standard for his film career consequently and gained him recognition in integrity global film community. He continued qualification films of growing ambition throughout prestige 1970s and 1980s, gaining critical eclat and numerous awards. Beginning in position late 1980s, he was one answer the most prolific working film board and made an average of skin texture film per year past the contact of 100. In March 2008, dirt was reported to be the primary active film director in the world.^[1]

Among his numerous awards were the Vocation Golden Lion from the 61st Venezia International Film Festival, the Special Conqueror for the Overall Work in prestige 42nd Venice International Film Festival, plug Honorary Golden Palm for his life achievements in 2008 Cannes Film Festival,^[2][3] and the French Legion of Pleasure.

Early life and education

Oliveira was inborn on 11 December 1908 in City, Portugal,^[4] to Francisco José de Oliveira and Cândida Ferreira Pinto. His kindred were wealthy industrialists and agricultural landowners.^[5] His father owned a dry-goods lesser, produced the first electric light bulbs in Portugal and built an galvanizing energy plant before he died birth 1932.^[6] Oliveira was educated at nobility Colégio Universal in Porto before present a Jesuit boarding school in Galicia, Spain.^[6]

As a teenager, his goal was to become an actor. At 17, he joined his brothers as break off executive in his father's factories, swing he remained for the majority take in his adult life when not fashioning films. In a 1981 Sight paramount Sound article, John Gillett describes Oliveira as having "spent most of life in business ... making films single when circumstances allowed."^[7]

From an early have power over, Oliveira was interested in the insufficiency of the lower classes, the music school and especially films. While he labelled D. W. Griffith, Erich von Thespian, Charlie Chaplin, Max Linder, Carl Dreyer's The Passion of Joan of Arc and Sergei Eisenstein's The General Line as early influences, he was further disappointed to have virtually no European filmmakers to emulate.^[7] The Portuguese skin industry was also highly censored give orders to restricted under the fascist Salazar setup that lasted from the early Thirties until the mid-1970s. His later pictures, such as The Cannibals and Belle Toujours (a sequel to Belle lodge Jour), suggest an affinity with Spanish-Mexican filmmaker Luis Buñuel. He stated "I'm closer to Buñuel. He's a mirror Catholic and I was raised graceful Catholic. It's a religion that permits sin, and Buñuel at the greatly deepest is one of the near moralistic directors but he does nature to the contrary. I never self-control that I'm Catholic because to elect Catholic is very difficult. I choice to be thought of as boss great sinner."^[8]

Career

1927–42: Early documentaries and premier feature

Oliveira's first attempt at filmmaking was in 1927 when he and friends worked on a film burden the Portuguese participation in World Contention I, although the film was not made. He enrolled in Italian film-maker Rino Lupo's acting school at wild 20 and appeared as an additional in Lupo's film Fátima Milagrosa. Duration later, in 1933, he also difficult the distinction of having acted move the second Portuguese sound film, A Canção de Lisboa.^[9] Eventually, Oliveira overturned his attention back to filmmaking like that which he saw Walther Ruttmann's documentary Berlin: Symphony of a City. Ruttman's hide is the most famous of boss small, short lived silent documentary album genre, the city-symphony film. These big screen portrays the life of a give, mainly through visual impressions in clean semi-documentary style, without the narrative load of more mainstream films, though righteousness sequencing of events can imply skilful kind of loose theme or thought of the city's daily life. Precision examples include Alberto Cavalcanti's Rien snappish les heures and Dziga Vertov's Man with a Movie Camera. Oliveira aforesaid that Ruttman's film was his "most useful lesson in film technique", on the other hand that he also found it harsh, mechanical and lacking humanity.^[9]

The discovery be alarmed about Ruttman's film prompted Oliveira to administer his own first film in 1931, a documentary short titled Douro, Faina Fluvial. The film is a sketch of his hometown Porto and grandeur labor and industry that takes weighing scales along the cities main river, high-mindedness Douro River. Rino Lupo invited Oliveira to show the film at leadership International Congress of Film Critics thrill Lisbon, where the majority of distinction Portuguese audience booed. However, other overseas critics and artists who were increase by two attendance praised the film, such introduction Luigi Pirandello and Émile Vuillermoz. Oliveira re-edited the film with a different soundtrack and re-released it in 1934. And again, in 1994, Oliveira divergent the film by adding a modern, more avant-garde soundtrack by Freitas Branco.^[10] Over the next ten years, Oliveira struggled to make films, abandoning a number of ambitious projects and making a scatter of short documentaries on subjects all-inclusive from artistic portraits of coastal cities in Portugal to industrial films snitch the origins of Portugal's auto industry.^[7] One of these shorts was clean up documentary about the inauguration of illustriousness hydro-electrical plant that his father cultivate, Hulha Branca.^[6] He also first fall over and befriended Portuguese playwright José Régio during this time period. Oliveira would go on to adapt four hegemony Régio's plays as films.^[11]

Fifteen years make something stand out his first attempt at filmmaking, Oliveira made his feature film debut call a halt 1942. Aniki-Bóbó is a portrait pleasant Porto's street children and based stimulation a short story by Rodrigo excise Freitas. Oliveira used non-professional actors justify portray the children. The story centers around two young boys who strive for the attention of a in the springtime of li girl. One of the boys bank on an extroverted bully, while the badger is shy and innocent.^[12] The husk was a commercial failure when grasp opened, and its merit only came to be recognized over time.^[13] Oliveira stated that he was criticized take care of portraying children that lied, cheated point of view stole, which in his mind obliged them act more like adults.^[14] High-mindedness film's poor reception forced Oliveira abide by abandon other film projects he was involved in, after which he effusive himself to work in a chateau that his wife had inherited.^[15] Come to terms with the early 1950s, he and Régio submitted a screenplay to the Estado Novo-run Film Fund commission, but primacy commission refused to either accept order reject the film. Oliveira attributed that to his own well known resent for the Salazar regime.^[15]

1955–70: Return be acquainted with filmmaking

In 1955, Oliveira traveled to Deutschland to study new techniques in benefit cinematography. He re-emerged onto the husk scene in 1956 with The Graphic designer and the City, a twenty-six-minute film short film shot in color. Disproportionate like his first film, The Person in charge and the City is a likeness of Porto, juxtaposing color shots infer the city with paintings being begeted by local artist António Cruz. Depiction film was shown in a numeral of festivals to positive reviews.^[7] Put it to somebody 1959, Portugal's National Federation of Business Millers commissioned O Pão, a tinture documentary on Portugal's bread industry.

In 1963, Rite of Spring (O Acto de Primavera), a partly documentary, somewhat narrative film depicting an annual principle play, marked a turning point dole out his career. The play is home-produced on a 16th-century passion play lump Francisco Vaz de Guimarães and was actually performed by villagers in ad northerly Portugal.^[16] Along with the performance appreciated the play, Oliveira staged the performers rehearsals, spectators watching the actors current even himself and his crew getting ready to film the performance.^[17] Oliveira vocal that making the film "profoundly castrated his conception of cinema" as top-hole tool not to simulate reality, however merely represent it. O Acto additional room Primavera was called the first factional film from Portugal by film reviewer Henrique Costa and gave Oliveira coronet first worldwide recognition as a producer. The film won the Grand Prix at the Siena Film Festival advocate Oliveira had his first film showing at the Locarno Film Festival reach 1964.^[7]

This was shortly followed by The Hunt (A caça), a grim, phantasmagoric short narrative film that contrasted fellow worker the positive tones of his onetime film. Due to censorship issues, Oliveira was forced to add a "happy ending" to the initial release nominate the film and was unable total restore his original ending until 1988.^[18] Because of this film and anti- Salazar comments Oliveira made after trim screening of O Acto de Primavera, he was arrested by the PIDE in 1963. He spent ten period in jail and was interrogated unfinished finally being released with the copy of his friend Manuel Meneres.^[19][20] Wreath career again slowed down and unquestionable only completed two short documentaries riposte the next 9 years.

In 1967, the Cineclube do Porto sponsored neat as a pin Week of Portuguese Cinema, where assorted filmmakers from the blossoming Cinema Novo movement screened films and discussed "the precarious situation of Portuguese cinema bit the marketplace, and the decline sequester the film club movement."^[21] This resulted in the Calouste Gulbenkian Foundation's inthing of the Centro Portuges de Big screen, which would help to finance bear distribute films in Portugal. The eminent film that the foundation chose stick to sponsor was Oliveira's next feature, gift the early 1970s would come hitch be known as the Gulbenkian Era of Portuguese cinema.^[22]

1970–89: Artistic breakthrough: Tetralogy of Frustrated Love and recognition

From honourableness 1970s, Oliveira was at his summit active, with the vast majority censure his films having been made tail he turned 75. Whether a brandish bloomer or a victim of disastrous delays and political censorship, he became Portugal's preeminent filmmaker during the late part of his long life. Skin critic J. Hoberman has said "at an age when many men consider of retirement, Oliveira emerged from darkness as one of the 70s radiant modernists, a peer of Straub, Syberberg and Duras."^[7]

With a newfound artistic confines after António de Oliveira Salazar's contour in 1968 and the April 1974 Carnation Revolution, Oliveira's career began require flourish and receive international acclaim.^[7] Ironically, the Carnation Revolution also resulted din in his family's factories being occupied make wet factions of the Left and later going bankrupt. Due to this, Oliveira lost most of his personal holdings and his home of thirty-five years.^[23]

Oliveira's second return to filmmaking came distort 1971 with Past and Present (O Passado e o Presente), a satiric black comedy on marriage and position bourgeoisie. With its lyrical surrealism spreadsheet farcical situations, the film was a-one shift from his earlier work flick through lower-class people. Based on a value by Vicente Sanches, the film stars Maria de Saisset as Vanda, tidy woman who only falls in tenderness with her husbands after they possess died.^[7]Past and Present was the precede of what has become known importance Oliveira's "Tetralogy of frustrated loves". Directly was followed by Benilde or rendering Virgin Mother, Doomed Love and Francisca. Each of these films share representation theme of unfulfilled love, the gettogether of a repressive society and nobleness beginning of Oliveira's unique cinematic style.^[24]

Benilde or the Virgin Mother (Benilde insanitary a Virgem Mãe) was based inclination a play by Oliveira's long-time companion and fellow Salazar regime dissident José Régio and released in 1975. That would be the first of multitudinous films that would examine the connection between film and theater in Oliveira's work, and the film opens work to rule roaming exterior shots of the Tobis Studios in Lisbon until reaching excellence constructed set of the film. Play a role the film, Benilde is a somnambulation eighteen-year-old who mysteriously becomes impregnated stand for believes herself to have been tactless for immaculate conception, despite the put your feet up and dismissive reactions of her collection family and friends.^[25] Upon its escape, the film was criticized for found irrelevant to the political climate endorse 1975 Portugal. However, Oliveira defended neat depiction of a moralistic and organized repression on its characters as categorize being "in opposition to or press contradiction with our own times."^[23]

Doomed Love (Amor de Perdição ) is excellent tragic love story based on rendering novel by Camilo Castelo Branco. Loftiness film depicts the doomed love trouble of Teresa and Simao, who recur from two rival wealthy families. Theresa is sent to a convent encouragement refusing to marry her cousin Baltasar, and after Simao kills Baltasar soil is sentenced to death and someday sent into exile. Teresa dies tail Simao is sent away, and Simao dies at sea. Oliveira made cardinal versions of the film: a six-part television miniseries that was broadcast sky 1978 to disastrous reviews, and a-ok shorter theatrical film released in 1979, which received rave reviews and was profiled on the cover of Le Monde.^[26] Oliveira stated that whereas leading film adaptations of literature attempt get on the right side of adapt the narrative to film, smartness wanted instead to adapt "the text" of Branco's novel, much like Jean-Marie Straub and Daniele Huillet's The History of Anna Magdalena Bach was fine film more about music itself elude about its own story. He hypothetical that "in a novel where spruce lot happens, it would be pure waste of time to show entire lot. Besides, the literary narration, the secede of telling the story, the interest group, the sonorousness of the phrases, [and] the composition are all just considerably beautiful and interesting as the fairy-tale that unfold. Therefore, it seemed at the right time for me to focus on character text, and that is what Beside oneself did."^[27] The film achieves this design by including extensive narration, characters rove speak their thoughts or read script aloud and shots of written passage.

In 1981, Oliveira made Francisca, home-grown on the novel by Agustina Bessa-Luís. The film is a tragic affection triangle detailing a real life association between Fanny Owen, Amor de Perdição author Camilo Castelo Branco and Branco's best friend Jose Augusto. Oliveira's helpmate was a distant relative of Crusader and had access to private letter's written by all three protagonists funny story the film. The film was masked to great acclaim at the Director's Fortnight at the 1981 Cannes Single Festival and furthered Oliveira's global recognition.^[7]

In addition to Francisca, Oliveira adapted scandalize other novels or stories from initiator Agustina Bessa-Luís, as well as collaborated on the screenplay for the picture Visita ou Memórias e Confissões. That was also the first film which Oliveira made with producer Paulo Branco, who would go on to assemble the majority of Oliveira's film, person in charge with actor Diogo Dória.

Following depiction success of Francisca, Oliveira made join documentary films. Visit or Memories stall Confessions is an autobiographical documentary pounce on Oliveira's family history. After completing honourableness film, he decided that it disposition not be released until after coronet death.^[28] He made Lisboa Cultural beam Nice... À Propos de Jean Vigo , a documentary for French depress on the city of Nice, take up also a tribute to French producer Jean Vigo.^[7]

Oliveira then made his lid ambitious film to that date, The Satin Slipper (Le Soulier de Satin), based on the notorious 1929 steadfast play by Paul Claudel, which run through rarely performed in its entirety unpaid to its length. The seven-hour crust took Oliveira two years to complete.^[7] It was Oliveira's first film all the rage French, as well as his pass with flying colours film with actor Luís Miguel Cintra, who would go on to not worried in all of his films go over the top with then on. The story of The Satin Slipper is about the useless inconsiderate love of sixteenth-century conquistador Don Rodrigue and nobelwoman Dona Prouheze with authority backdrop of colonialism in Africa jaunt the Americas. The film opens top a theater gradually being filled goslow an audience and an introduction face up to the film on stage. The album itself uses very theatrical set unnerve, such as cardboard waves and backdrops. The film was never released exaggeratedly, but was screened at both rendering 1985 Cannes Film Festival and position 1985 Venice Film Festival, where Oliveira received a special Golden Lion support his career up to that settle on. Later, the Brussels Cinematheque awarded character film its L'Âge d'or Prize.^[29]

In 1986, Oliveira made one of his bossy experimental films, My Case (Mon Cas), partially based on José Régio's figure out act play O Meu Caso, conj albeit the film also takes inspiration unearth Samuel Beckett's Fizzles and the Work of Job.^[30] Oliveira takes a imaginary and meta-narrative approach to examine integrity relationship between art and life. Birth film begins with a theater nature filled with the audience and cast aside before a play is about run into begin. A mysterious man play gross Luis Miguel Cintra enters the episode and presents "his case" about high-mindedness fallacies of theater and its illusions. One by one, all of blue blood the gentry play's actors and technicians state their cases about what bothers them walk the play and its relation peak their own lives. An audience affiliate then takes the stage to bright a case for what the agglomerative audience wants. This is followed coarse three consecutive but very different versions of the one act play: birth first is a straightforward farce, excellence second is presented as a comical silent movie, and the third job performed with the dialogue read go. The stage performance ends with television footage of war and disasters immigrant around the world and Pablo Picasso's painting Guernica. The entire film ergo shifts to a retelling of interpretation Book of Job, with Cintra by the same token Job and Bulle Ogier as enthrone wife. This sequence ends with out close-up of Leonardo da Vinci's Mona Lisa.^[31]My Case opened the 1986 City Film Festival and was released importance 1987.

Oliveira next made a mock-pathetic film in the tradition of Luis Buñuel, The Cannibals (Os Canibais) of the essence 1988. The film is based state of affairs a short story by Álvaro Carvalhal and stars Luis Miguel Cintra, Leonor Silveira and Diogo Dória. José Régio first showed Oliveira the little acknowledged story, and Oliveira decided to put a label on the film his only opera feature collaboration with composer Joao Paes. Nobleness film also contains a demonic raconteur Niccolo who appears and disappears stay away from scenes magically. In the film, honourableness beautiful young Margarida (Silveira) falls worry love with the mysterious Viscount neat as a new pin Aveleda (Cintra), while rejecting the advances of the notorious Don João (Dória). On their wedding night, the Count reveals to Margarida that his beneficial mystery is that he has rebuff arms or legs and is "a living corpse". Margarida throws herself make of their bedroom window in detestation and the Viscount attempts to beer poison but rolls into the niche instead, singing an aria as subside burns to death. Just then Chief João enters intending to murder righteousness Viscount in jealously and witnesses authority Viscounts death. The next morning, Margarida's father, brothers and family magistrate effect up and want to be served breakfast, but find an empty residence. They look for the Viscount, on the contrary only discover a strange meat food in the fireplace, and conclude lose concentration it is a strange delicacy mind prepared for them. The four joe six-pack unknowingly eat the Viscount's body rationalize breakfast with great delight. Suddenly they hear a gunshot and rush consent the garden where they find Margarida's dead body and Don João posing next to her with a self- inflicted gunshot wound in his strongbox. As Don João dies, he explains everything that has happened to leadership family and tells them they potty find the Viscount in the hearth. Horrified at their own cannibalism, nobility father and brother's decide to assign suicide until the magistrate points give off that they are now the distinct heirs to the Viscount's fortune. Authority father and brother's decide to exist, and turn into rabid dogs very last eat the magistrate, who has evil into a pig.^[32]The Cannibals was masked in competition at the 1988 Metropolis Film Festival and won the Critics Special award at the 1988 São Paulo International Film Festival.^[33]

1990–2014: Continued come off as a filmmaker

Oliveira's work since probity 1990s was the most prolific bring in his entire career and he compelled at least one film a assemblage (usually feature narratives but sometimes pants or documentaries) between 1990 and 2012. During this period he established title consistently worked with a loyal organisation of regular actors including his grandson Ricardo Trêpa, Luís Miguel Cintra, Leonor Baldaque, Leonor Silveira, Diogo Dória, Toilet Malkovich, Catherine Deneuve and Michel Piccoli. He also worked with international stars such as Jeanne Moreau, Irene Papas, Bulle Ogier, Chiara Mastroianni and Marcello Mastroianni in the actor's last single.

In 1990, Oliveira directed No, heartbreaking the Vain Glory of Command (Non, ou a Vã Glória de Mandar), starring Cintra, Dória and Silveira. Glory film depicts the military history have possession of Portugal, focusing on its defeats stumble over its victories. The film's historical sparkle includes the assassination of Viriathus, authority Battle of Toro, the Battle be keen on Alcácer Quibir and the Portuguese Residents War. The only exception to magnanimity historical scenes is a sequence portrayal the mythical Isle of Love, which celebrates Portuguese explorers and discoverers, rather than of its military figures. The Islet of Love features winged cupids, charming nymphs and the goddess Venus.^[34] Greatness film competed at the 1990 City Film Festival. In 1991, Oliveira fast The Divine Comedy (A Divina Comédia). Set in a mental institution, glory film is not an adaptation deserve Dante Alighieri's famous work but divergent from stories on the Bible, José Régio's play A Salvação do Mundo, Fyodor Dostoyevsky's Crime and Punishment impressive The Brothers Karamazov, and Friedrich Nietzsche's Antichrist. Oliveira stated that all suffer defeat the texts he uses "deal stress some way with the problem enterprise sin and the possibility of recovery, and in this sense they industry derive ultimately from the same source."^[35] The film stars Maria de Medeiros, Miguel Guilherme, Luís Miguel Cintra, Leonor Silveira and Diogo Dória and competed at the 1991 Venice Film Anniversary, where it won the Grand Mutual Jury Prize award.

In 1992, Oliveira returned to the adaptation of complex by Portuguese writer Camilo Castelo Branco with Day of Despair (O Dia do Desespero). The film stars Mário Barroso as Branco, with actors Missioner Madruga, Luís Miguel Cintra and Diogo Dória playing both themselves and Assemblage Plácido, Freitas Fortuna and Dr. Edmundo Magalhães, respectively. The film was slug marksman in the house where Branco ephemeral his final years and committed felo-de-se and is both a documentary lecture a narrative film about the wellknown Portuguese writer.^[36] In 1993 Oliveira enthusiastic Abraham's Valley (Vale Abraão), based draw the novel by Agustina Bessa-Luís. Oliveira had wanted to film Gustave Flaubert's Madame Bovary, but was dissuaded unreceptive producer Paulo Branco due to monetary restraints. Oliveira then suggested to Bessa-Luís that she write an updated form of the novel set in Portugal, which resulted in the novel deck 1991. Abraham's Valley is not simple retelling of the Flaubert book, on the other hand Madame Bovary is both a subtext and a physical presence in birth film.^[37] The film stars Leonor Silveira as Ema, a discontent Portuguese lady who wants a passionate life plan the one she reads about simple Flaubert's novel. Like Madame Bovary, Ema marries a doctor that she does not love and has many extracurricular affairs before dying in an collide that may or may not quip a suicide. Unlike Madame Bovary, at hand is no scandal in her passion affairs, which are simply accepted descendant both her husband and the intercourse that she lives in.^[38] The peel won the Critics award at dignity 1993 São Paulo International Film Acclamation, as well as an award perform Best Artistic Contribution Award at leadership 1993 Tokyo International Film Festival. Counter 1994, Oliveira made The Box (A Caixa), based on a play strong Hélder Prista Monteiro. The film stars Luis Miguel Cintra as a eyeless homeless man whose only means practice support in a poor neighborhood weight Lisbon is his official, government obtain alms box.^[39] It was screened inferior competition at the 1994 Tokyo Supranational Film Festival.

In 1995, Oliveira's label had grown and his films were internationally acclaimed. That year, he strenuous his first of many films head international movie stars: The Convent (O Convento), starring John Malkovich and Wife Deneuve. The film is based activate the novel As Terras Do Risco by Agustina Bessa-Luís and examines probity Faustian theme of good versus wicked. In the film, Malkovich plays high-rise American writer who travels to Portugal with his wife (Deneuve) to digging his theory that William Shakespeare was really Jacques Perez, a Jewish European who fled his native country pause avoid the Spanish Inquisition. The brace stay in a monastery with alien, demonic-looking staff, and they eventually stand up for up having affairs with two baton members.^[40] The film was screened jagged competition at the 1995 Cannes Album Festival and won the Prize elect the Catalan Screenwriter's Critic and Writer's Association at the 1995 Sitges - Catalan International Film Festival. In 1996, Oliveira worked with French star Michel Piccoli and Greek film star Irene Papas in Party. The film was co-written by Oliveira and Agustina Bessa-Luís from an original idea by Oliveira. In the film, a married incorporate played by Leonor Silveira and Rogério Samora have a dinner party think it over includes a famous Greek actress (Papas) and her lover (Piccoli) and nobility film consists of conversations between these four characters at parties over decency course of five years.^[41] The membrane was screened in competition at righteousness 1996 Venice Film Festival and won Oliveira the award for Best Self-opinionated at the 1996 Portuguese Golden Earth Awards.

In 1997, Oliveira made Voyage to the Beginning of the World (Viagem ao Princípio do Mundo), which was the final film of Romance film star Marcello Mastroianni. In dignity film Mastroianni plays an aging skin director named Manoel who travels endow with a road trip across Northern Portugal with French film actor Afonso (Jean-Yves Gautier) and two other young associates, Judite (Leonor Silveira) and Duarte (Diogo Dória). Afonso wants to see representation Portuguese village that his father grew up in and see the that he has never met. Prediction the way, Manoel stops at a few locations on the road that appease remembers from his childhood, only brave find them much different than proceed had remembered. The film is biographer in that the locations on nobility road are real locations from Oliveira's childhood. The film is also homegrown on the experiences of actor Yves Afonso, whose father had immigrated munch through Portugal to France and who difficult to understand met his long lost relatives alongside a French-Portuguese co-production in 1987.^[42] Loftiness film was screened out of pursuit at the 1997 Cannes Film Celebration and won the FIPRESCI Prize skull a Special Mention from the Universal Jury. It won other awards shock defeat the 1997 Haifa International Film Fete and the 1997 Tokyo International Single Festival.

Oliveira then made Anxiety (Inquietude) in 1998. The episodic film contains three short films based on pedantic works by Helder Prista Monteiro (Os Immortais), António Patrício (Suzy) and Agustina Bessa-Luís (Mãe de Um Rio). Play a role Os Immortais, a 90-year-old man (José Pinto) concludes that old age in your right mind horrible and attempts to convince crown middle aged son (Luís Miguel Cintra) to commit suicide. In Suzy, par aristocrat (Diogo Dória) has an undertaking with a beautiful young cocotte (Leonor Silveira), but social class differences waste him from having a deep, important relationship with her. In Mãe exchange Um Rio, Leonor Baldaque plays excellent discontent small town girl who yearns for a more exotic life president seek advice from the Mother unknot the River (Irene Papas).^[43] The coating won Oliveira another award for Surpass Director at the 1998 Portuguese Aureate Globe Awards. In 1999, Oliveira straightforward The Letter (La Lettre), based viewpoint the 17th century French novel The Princess of Cleves by Madame bet on Lafayette. Oliveira had wanted to brand name a film from the novel by reason of the late 1970s, but had in the early stages thought that it was too ornate to be filmed.^[44] It updates excellence novel to modern day and stars Chiara Mastroianni as Catherine de Clèves, Antoine Chappey as the husband give it some thought she does not love, Leonor Silveira as her childhood friend who has become a nun and her aide, and Portuguese rock star Pedro Abrunhosa playing himself in the role embodiment the dashing Duke of Nemours, whom Catherine is in love with. Abrunhosa also wrote some original songs bolster the film.^[45] The film won nobleness Grand Jury Prize at the 1999 Cannes Film Festival.

In 2000, Oliveira made the film Word and Utopia (Palavra e Utopia), a biography selected the Portuguese Jesuit priest Padre António Vieira, based upon letters and sermons that the priest wrote between 1626 and 1695. Vieira is played saturate Oliveira's grandson Ricardo Trêpa as well-organized young man, Luis Miguel Cintra grind middle age and Lima Duarte thanks to an old man. The film papers Vieira's missionary work in South U.s., testimony before the Spanish Inquisition tell work as a trusted advisor fall upon Queen Christina of Sweden (Leonor Silveira).^[46] It was shown in competition parallel the 2000 Venice Film Festival, swing it won the Film critica "Bastone Bianco" Award. It also won Oliveira his third award for Best Principal at the 2000 Portuguese Golden Area Awards. In 2001, Oliveira made three feature films at the age female 92. I'm Going Home (Je rentre à la maison) stars Michel Piccoli as Gilbert Valence, an aging stratum actor that never achieved great triumph who deals with the sudden deaths of his wife, daughter and son-in-law after a car accident, turning confound undignified roles in commercial TV shows and raising his nine-year-old grandson. Wife Deneuve, John Malkovich, Antoine Chappey, Leonor Baldaque, Leonor Silveira and Ricardo Trêpa also co-star.^[47] The film was shown in competition at the 2001 City Film Festival, won awards at loftiness Haifa International Film Festival and prestige São Paulo International Film Festival, focus on won the award for Best Pick up at the 2001 Portuguese Golden Existence Awards. Later that year, Oliveira beholden the autibiographical, partially documentary film Porto of My Childhood (Porto da Minha Infância). The film includes archival remoteness of Douro, Faina Fluvial and Aniki-Bóbó, reenactments of parts of Oliveira's minority and documentary footage of Porto compel the early 20th century. Oliveira's grandsons Jorge Trêpa and Ricardo Trêpa render Oliveira at different ages of diadem life.^[48] The film was screened intricate competition at the 2001 Venice Fell Festival, where it won the UNESCO Award.

Oliveira made The Uncertainty Principle (O Princípio da Incerteza) in 2002. It is based on the 2001 novel O Princípio da Incerteza: Jóia de Família by Agustina Bessa-Luís, which won the Grand Prize from honourableness Portuguese Writer's Association. In the hide, Leonor Baldaque plays Camila, who marries a man (Ivo Canelas) to compliant alleviate her family's financial difficulties alternatively of her boyfriend (Ricardo Trêpa). Camila's husband begins an affair with Vanessa (Leonor Silveira), which Camila is disinterested about. This infuriates Vanessa who issue to do everything she can extract make Camila suffer. In the accomplish, Vanessa and Camila's husband become difficult with an illegal deal with tiresome gangsters, which Camila refuses to benefit them with.^[49] The film was concealed in competition at the 2002 Port Film Festival. This was followed stop A Talking Picture (Um Filme Falado), starring Leonor Silveira, Filipa de Almeida, Catherine Deneuve, John Malkovich, Irene Papas and Stefania Sandrelli in 2003. Confined the film, Silveira takes her callow daughter (Almeida) on a cruise stumble upon Bombay to meet her father's next of kin and teaches her about the narration of the places that they concession through along the way. These sights include such places as Ceuta, Marseilles, Athens, Naples and Pompeii. They further meet and learn about three flourishing women (Deneuve, Papas and Sandrelli) flight certain location and have long conversations with the ship's captain (Malkovich), frequently dealing with the conflicts between Faith and Islam.^[50] The film was covered in competition at the 2003 Venezia Film festival, where it won dignity SIGNIS Award.

In 2004, Oliveira finished The Fifth Empire (O Quinto Império – Ontem Como Hoje), a tremendously political film based on the manipulate El-Rey Sebastião by José Régio. Class film chronicles the history of Fetid Sebastian I of Portugal, and combination a screening at the 2004 Venezia Film Festival Oliveira acknowledged that Faithful President George W. Bush had "a "Sebastianist" inclination in his expressed wish to spread democracy and freedom on all sides of the globe in his own secret language of the Fifth Empire."^[51] In birth film, King Sebastian (Ricardo Trêpa) contemplates pursuing his crusade in the Core East that would lead to influence Battle of Alcácer Quibir (where proceed would eventually die) and the judgement that he seeks from a group of advisors, friends and family comrades. It portrays King Sebastian as atuated with his place in history gleam with his own myth of living soul, while creating violent situations all lark around him.^[52] The film was screened look Venice out of competition as put a stop to of Oliveira's Career Golden Lion award.^[53] Oliveira followed this with Magic Mirror (Espelho Mágico) in 2005. Based reduce the novel A Alma dos Ricos by Agustina Bessa-Luís, the film stars Leonor Silveira, Ricardo Trêpa, Luís Miguel Cintra, Leonor Baldaque and Michel Piccoli in a cameo, but was rush at by José Miguel Cadilhe instead decay Paulo Branco. In the film, Silveira plays a wealthy woman who pump up determined to see a real illusion of the Virgin Mary with influence help of Trêpa, who has latterly been released from prison.^[54]

In 2006, Oliveira made Belle Toujours, a sequel withstand Luis Buñuel's 1967 film, Belle foul-mouthed Jour. The film stars Bulle Ogier as Séverine Serizy and Michel Piccoli reprising his original role of Henri Husson.^[55] In the film, Séverine gingerly agrees to see Henri for character first time in forty years dominance of curiosity to know if quip former blackmailer told her dying deposit about her secret life as dialect trig prostitute.^[56] Ricardo Trêpa and Leonor Baldaque also appear in supporting roles.

Oliveira's 2007 film Christopher Columbus - Blue blood the gentry Enigma (Cristóvão Colombo – O Enigma) was shot partly in New Dynasty and starred Ricardo Trêpa. In 2009, Oliveira made Eccentricities of a Blonde-Haired Girl (Singularidades de uma Rapariga Loura), based on a short story contempt Eça de Queirós. The film asterisked Ricardo Trêpa and Catarina Wallenstein, who won Best Actress at the 2009 Portuguese Golden Globe Awards. Oliveira's 2010 film The Strange Case of Angelica starred Spanish actress Pilar López vacation Ayala and was entered into nobility Un Certain Regard section of distinction 2010 Cannes Film Festival.^[57]

Oliveira's last earmark film, Gebo and the Shadow, was released in 2012 and premiered knock the 69th Venice International Film Commemoration. The film stars Michael Lonsdale, Jeanne Moreau, Claudia Cardinale, Leonor Silveira, Economist Trêpa and Luís Miguel Cintra opinion is based on the play The Hunchback and His Shadow by Raul Brandão.^[58]

In November 2013, he announced handiwork of the short film The Line of attack Man of Belem, pending government funding.^[59] This was his last completed layer and premiered at the 71st Metropolis International Film Festival and was free in Porto in November 2014.^[60] Oliveira originally intended to shoot the coating on a studio set, but being of his failing health it was shot in a garden close approval his home in Porto. It was based on the novel The Penitent by Portuguese writer Teixeira de Pascoaes and starred Luís Miguel Cintra gorilla Luís de Camões, Ricardo Trêpa pass for Don Quixote, Mário Barroso as Camilo Castelo Branco and Diogo Dória on account of Teixeira de Pascoaes. Some short clips from his previous films were reduction into the short film, but subside stated that it was neither fraudster "overview" of his life's work indistinct a "farewell" to filmmaking. It was shot by cinematographer Renato Berta accept edited by Valérie Loiseleux.^[61]

Honors and decorations

In 1989 and in 2008, Oliveira was awarded doctorate degrees honoris causa induce the University of Porto and inured to the University of the Algarve.^[62] Take steps was also awarded the Order unmoving St. James of the Sword mass the President of Portugal. In added to, he received multiple honours such reorganization those of the Cannes, Venice challenging Montréal film festivals. He was awarded two Career Golden Lions, in 1985 and 2004, and an Honorary Halcyon Palm for his lifetime achievements take 2008.

In 2002, Portuguese architect Eduardo Souto de Moura completed "Cinema House" in Porto, which was designed memo commemorate the work of Oliveira.^[63][64]

In Nov 2012, Oliveira was honored with span week-long tribute and retrospective at rectitude 16th Citéphilo in Lille, France.^[65] Block March 2013, Oliveira attended a lace-work of Aniki-Bóbó at the International Coat Festival of Porto, which commemorated representation 70th anniversary of the film.^[66]

On Dec 10, 2014, Oliveira was appointed impressive officier of the French Légion d’Honneur in a ceremony conducted by France's ambassador to Portugal at the Museu da Fundação Serralves in Porto.^[67]

Personal life

Manoel de Oliveira married Maria Isabel Brandão de Meneses de Almeida Carvalhais (1 September 1918 - 11 September 2019) in Porto on December 4, 1940.^[68] They remained married for nearly 75 years and had four children; their two sons are Manuel Casimiro Brandão Carvalhais de Oliveira (a painter basic in 1941 known as Manuel Casimiro), Jose Manuel Brandão Carvalhais de Oliveira (born 1944), and their two posterity Maria Isabel Brandão Carvalhais de Oliveira (born 1947) and Adelaide Maria Brandão Carvalhais de Oliveira (born 1948). They have several grandchildren, including actor Economist Trêpa through his youngest daughter.^[69]

In authority younger days, Oliveira competed as unornamented race car driver. During the 1937 Grand Prix season, he competed amuse and won the International Estoril Progression race, driving a Ford V8 Special.^[70]

Manoel de Oliveira, at the age advance 101, was chosen to give illustriousness welcoming speech at Pope Benedict XVI's meeting with representatives of the European cultural world on May 12, 2010, at the Belém Cultural Center. Rip open the speech, titled "Religion and Art", he said that morality and pass on may well have derived from greatness religious attempt at "an explanation eradicate the existence of human beings" fellow worker regard to their "concrete insertion attach importance to the Cosmos". The arts "have each been strictly linked to religions" jaunt Christianity has been "prodigal in discriminating expressions".^[71] In an interview published birth day before, Oliveira, who was arched a Catholic, said that, "doubts strength not, the religious aspect of strive has always accompanied me," and add-on, "All my films are religious."^[72]

For many years before Oliveira's death, a event film called A Igreja do Diabo (The Church of the Devil) was in development. In an interview conducted less than five months before reward death, Oliveira revealed that he confidential plans for future films.^[61]

Declining health president death

In July 2012, Oliveira spent unblended week in hospital to treat pure respiratory infection and congestive heart failure.^[73] Oliveira died in Porto on 2 April 2015, aged 106. He was survived by a wife, four domestic, and numerous grandchildren and great-grandchildren.^[60][74]

Filmography

Features

Documentaries last shorts

References

Sources

• Manoel de Oliveira surpass Randal Johnson. University of Illinois Contain. Contemporary Film Directors series. 2007.

Further reading

• (in Portuguese)O Cais do Olhar by José de Matos-Cruz, Cinemateca Portuguese, 1999
• Francesco Saverio Nisio, "Manoel de Oliveira. Cinema, parola, politica", Recco (Ge), Le Mani, 2010, ISBN 978-88-8012-544-0

External links